Tuesday, December 30, 2014

This is an awesome song by U2 with the amazing Mary J. Blige.
Love this version of "One".

Mary J. Blige, U2 - One

Hope you will love this awesome lyric.

U2 (Feat. Mary J. Blige) - One

Is it getting better
Or do you feel the same?
Will it make it easier on you now?
You got someone to blame

You say one love, one life (one life)
It's one need in the night
One love (one love), get to share it
Leaves you darling, if you don't care for it

Mary

[Mary J. Blige]

Did I disappoint you?
Or leave a bad taste in your mouth?
You act like you never had love
And you want me to go without

Well it's too late, tonight
To drag the past out into the light
We're one, but we're not the same
We get to carry each other
Carry each other
One...

Have you come here for forgiveness?
Have you come to raise the dead?
Have you come here to play Jesus?
To the lepers in your head

Well, did I ask too much, more than a lot?
You gave me nothing, now it's all I got
We're one, but we're not the same
Well we, hurt each other
Then we do it again

You say
Love is a temple
Love is a higher law
Love is a temple
Love is the higher law
You ask me to enter
Well then you make me crawl
And I can't keep holding on
To what you got
When all you got is hurt

[U2 Feat. Mary J. Blige]

One love
One blood
One life
You got to do what you should
One life
With each other
Sisters and my
Brothers
One life
But we're not the same
We get to
Carry each other
Carry each other

Thursday, December 25, 2014

This is the awesome new video by Lemi Lovato.
Love her, love her voice and her strength.

Demi Lovato - Nightingale (Official Video)

Hope you will love this awesome lyric.

Demi Lovato - Nightingale

I can't sleep tonight
Wide awake and so confused
Everything's in line
But I am bruised
I need a voice to echo
I need a light to take me home
I kinda need a hero
Is it you?

I never see the forest for the trees
I could really use your melody
Baby I'm a little blind
I think it's time for you to find me

Can you be my nightingale?
Sing to me
I know you're there
You could be my sanity
Bring me peace
Sing me to sleep
Say you'll be my nightingale

Somebody speak to me
Cause I'm feeling like hell
Need you to answer me
I'm overwhelmed
I need a voice to echo
I need a light to take me home
I need a star to follow
I don't know

I never see the forest for the trees
I could really use your melody
Baby I'm a little blind
I think it's time for you to find me

Can you be my nightingale?
Sing to me
I know you're there
You could be my sanity
Bring me peace
Sing me to sleep
Say you'll be my nightingale

I don't know what I'd do without you
Your words are like a whisper cutting through
As long as you are with me here tonight
I'm good

Can you be my nightingale?
Feels so close
I know you're there
Oh, nightingale
Sing to me
I know you're there
'Cause baby you're my sanity
You bring me peace
Sing me to sleep
Say you'll be my nightingale

Wednesday, December 24, 2014

"Dear Bob and Midge, It's 8:00am on the 28th Novembere 1984 just 48 short hours after you'd finished mixing the record. The video is complete and ready for TV sets all over the world.

Over twenty people were responsible for making this video: they gave us their time and their expertise. For this we shall be always grateful.

Our thanks too to the following for giving us the tools to do the job:

Tattooist International

Cinefocus

Visions

Rob Wright

Agfa Gavaert Ltd

Film Lighting Services

Phonogram Records

Polygram Music Video

Polygram Video

Sarm Studios

Vanderquest

AKA

Kays Labs

Maurice Placquet

and...

anyone we've forgotten!

It's time we went home too. Thanks for giving us the chance to do this for you.

Merry Christmas

FEED THE WORLD

Nigel, Dave and Rob.

BAND AID 1984"

Do they Know it's Christmas ~ Band Aid 1984

Hope you will love this awesome lyric.

Band Aid - Do They Know It’s Christmas (1984)

It's Christmas time, and there's no need to be afraid
At Christmas time, we let in light and we banish shade
And in our world of plenty, we can spread a smile of joy
Throw your arms around the world at Christmas time

But say a prayer to pray for the other ones
At Christmas time, it's hard, but when you're having fun
There's a world outside your window
And it's a world of dread and fear
Where the only water flowing is the bitter sting of tears
And the Christmas bells that ring there
Are the clanging chimes of doom
Well, tonight, thank God it's them instead of you

And there won't be snow in Africa this Christmas time
The greatest gift they'll get this year is life
Where nothing ever grows, no rain or rivers flow
Do they know it's Christmas time at all?

Here's to you, raise a glass for everyone
Here's to them underneath that burning sun
Do they know it's Christmas time at all?

Feed the world
Feed the world

Feed the world, let them know it's Christmas time
And feed the world
let them know it's Christmas time
And feed the world
let them know it's Christmas time
And feed the world
let them know it's Christmas time
And feed the world
let them know it's Christmas time
And feed the world
let them know it's Christmas time
And feed the world
let them know it's Christmas time
And feed the world

Madonna’s Next Album Is Shaping Up to Be Her Best in a Decade

The singer's surprise release of several new songs reveals that the Queen of Pop hasn't lost her edge

When a handful of Madonna demos leaked last week — an event she called “artistic rape” and a “form of terrorism” — she decided to fight fire with fire by releasing the official versions of six songs cut from her upcoming thirteenth studio album, Rebel Heart. The bundle of new tracks represent her first collection of new material since 2012’s MDNA, a lukewarm flirtation with contemporary club music. Thing is, though, there’s a joy to every new Madonna release that’s just separated from determining the quality of the actual music: at this point in her career she’s pop’s cockroach, resilient and hardy and shockingly adaptable. With each new record, there are lessons about the genre’s present and near future in the specific sounds and figures she chooses to help realize her vision.

Based on this first batch of Rebel Heart material, Madonna is looking to strike a balance. First, there’s are the figures at the centre of EDM and synth-pop, her chosen modes of operation — meaning writers and producers like Diplo, Avicii, and Savan Kotecha. Then, she ropes in artists working at the vanguard across a variety of genres, from superstars like Kanye West to relative nobodies like producers Ariel Rechtshaid and Sophie. This is a savvy move — what a surprise, a smart play from one of the canniest pop stars to ever roam an arena — because it allows her to play to the masses while still pushing boundaries.

The songs that lead off this first Rebel Heart blast, lead single “Living for Love” and “Devil Pray,” could fit in neatly on the radio beside this year’s British house-pop crossovers and Avicii’s own “Hey Brother.” The ones that close it, namely the abrasive half-rapped Kanye collaboration “Illuminati” and caffeine-drunk trap anthem/Nicki Minaj feature “Bitch I’m Madonna,” hew closer to the spirit of PC Music’s obscure SoundCloud accounts and the sharp edges of Yeezus.

And because Madonna exists in rarefied air, the kind reserved for luminaries like herself and Prince and very few others, each of her new releases is less of an independent statement than a response to everything she’s done before, another chapter tacked onto an epic novel with no definite end. The tones, themes, and imagery that make up her musical toolbox — the frank sensuality, the various methods of intoxication, the lapsed Catholicism, the uncompromising confidence — are gospel at this point, and they elevate some of the more forgettable Rebel Heart material to a base level of pleasure. It’s fun to hear Madonna deliver a line like, “It might sound like I’m an unapologetic bitch / but sometimes you know I gotta call I like it is” (and try on 2 Chainz’ flow, just for kicks) because she has three’ decades worth of unapologetic bitchiness in her back pocket. It’s an easy score, sure, but it’s effective. And if the complete version of Rebel Heart, due March 10th via Interscope, can deliver a few more of those easy scores alongside a bit more adventurous songwriting, the album could be Madonna’s finest in almost a decade.

Sunday, December 21, 2014

This is the first video of the winner of the X Factor UK 2014.
The guy is a rocker with a special voice and was my favourite since the first time I saw him in the first auditions on the show.

Ben Haenow - Something I Need

Hope you will love this awesome lyric.

Ben Haenow - Something I Need

I had a dream the other night
About how we only get one life
Woke me up right after two
Stayed awake and stared at you
So I wouldn't lose my mind

And I had the week that came from hell
And yes I know that you can tell
But you're like the net under the ledge
When I go flying off the edge
You go flying off as well

And if we're only here once I wanna live with
You got something I need
In this world full of people there's one loving me
And if we're only here once, (hey)
I wanna live with you (you, you, you)
You got something I need
In this world full of people there's one loving me
And if we're only here once, (hey)
I wanna live with you (you, you)

Last night I think I drank too much
Call it our temporary crutch
With broken words I've tried to say
Honey don't you be afraid
If we got nothing we got us

And if we're only here once I wanna live with
You got something I need
In this world full of people there's one loving me
And if we're only here once, (hey)
I wanna live with you (you, you, you)

I know that we're not the same
But I'm so damn glad that we made it
To this time, this time, now

You got something I need
Yeah in this world full of people there's one loving me
And if we're only here once I wanna live with you (heeyy)
You got something I need
In this world full of people there's one loving me
And if we're only here once, (hey)
I wanna live with you (you, you, you)
You got something I need
In this world full of people there's one loving me
And if we're only here once, (hey)
I wanna live with you (you, you, you)

And if we're only here once (hey) I wanna live with
And if we're only here once I wanna live with you

Bethany Hamilton falls short in 'Amazing Race' finale

Kauai surfer Bethany Hamilton and her husband Adam Dirks were contestants in this season's "The Amazing Race," but fell just short of winning the whole thing Friday in the season finale.

Kauai surfer Bethany Hamilton and her husband Adam Dirks won the hearts of fans as the couple competed this season in the globetrotting reality show "The Amazing Race," but fell just short of winning the whole thing Friday in the season finale.

The last episode followed the CBS show's four surviving teams -- the season started in September with 11 -- as they flew from Manilla to Los Angeles. As with every destination this season, they had to compete in challenges once they arrived in Los Angeles: jumping out of a building and swimming out to rescue a 200-pound dummy. The show airs at 7 p.m. Friday in Hawaii on KGMB.

Hamilton, 24, and Dirks, 26, were in the lead through the rescue but slipped into last place during a memory challenge.

The winners were a pair of food scientists from Madison, Wisc., who study sweets -- Maya Warren and Amy DeJong. First prize was $1 million.

The competition covered more than 26,000 miles and at nearly every stop Hamilton and Dirks made traveling look easy. On a show known for the sniping and arguments teams have among themselves, the Kauai couple gushed about love and teamwork at every turn.

Hamilton kept calling Dirks "Honey Buns."

But they were tough to beat as well. Before the finale, Hamilton and Dirks finished first three times and in the top three on eight occasions.

USA TODAY Album of the Year: Taylor Swift's '1989'

Swift's fifth album, 1989, dominated 2014 in a way few others have monopolized previous years. By the time Swift released 1989 on Oct. 27, she had worked her fan base into a frenzy of desire, dropping cryptic hints and previewing tracks, even inviting a few hundred of her most devoted followers into private settings where she played them the entire album, a grassroots marketing campaign unparalleled among pop stars of her magnitude.

The result? Swift managed to do in one week what no other album released in 2014 could do in the previous 42: sell a million copies. Within three weeks, she had made it to 2 million. At this point, 1989 has sold more than the combined total of 2014's next three biggest releases — Sam Smith's In the Lonely Hour, Eric Church's The Outsiders and Coldplay's Ghost Stories.

Swift also used 1989 to reframe the debate over streaming and the value of music. "In my opinion, the value of an album is, and will continue to be, based on the amount of heart and soul an artist has bled into a body of work, and the financial value that artists (and their labels) place on their music when it goes out into the marketplace," she wrote in a July piece for the Wall Street Journal.

Taylor Swift performs during KIIS FM's Jingle Ball 2014 this month in Los Angeles, dominated the charts and made headlines.(Photo: Jason Merritt, Getty Images for iHeartMedia)
When she backed up that opinion by yanking her entire catalog from Spotify, she became an instant folk hero to songwriters who claimed such streaming services severely underpaid them. In the short term, at least, she hasn't seen any financial repercussions from her decision. When Billboard changed its main albums chart in December to include on-demand online streams, 1989 moved back into the chart's No. 1 spot on sales alone.

The bottom line, though, is that 1989 is simply a fine album. It's intensely personal and drolly self-aware, with singles Shake It Off and Blank Space mocking the persona her detractors have tried to create for her while such songs as This Love and Wildest Dreams invite listeners into intimate places. It moves her away from exacting passive-aggressive revenge on exes, though she still writes about relationships, and reveals her longtime obsession with her recordings' sonic qualities. Swift has been a musical omnivore with excellent taste since her teens, and 1989 finds her, as she sings in Welcome to New York, "searching for a sound we hadn't heard before."

The 25-year-old found that redefining sound by looking in a place few others were, drawing inspiration from the big-beat and synth-pop styles of the late 1980s. Using the building blocks of throwback pop, she scaled to a new career peak, zigging when everybody else was sagging.

Friday, December 12, 2014

AMC’s The Walking Dead Agrees To Bring Beth Greene Back To Life

Posted December 12, 2014 at 10:41 am

(Image Source: AP Images)

Fans of AMC’s The Walking Dead were in uproar after the mid-season finale “Coda”, when long-standing survivor Beth Greene (Emily Kinney) was “accidentally” shot and killed by Dawn Lerner (Christine Woods). Fans are so upset about the death of Beth, they’ve started a petition to deliver to TWD Producers, which has already received over 50,000 signatures, demanding they resurrect the teenage girl. It appears the production team is listening, and has agreed to bring Beth Greene back to life.

Viewers have cried in outrage about Beth’s death, saying that Daryl Dixon (Norman Reedus) could have, and should have, saved her. Yes, he shot Dawn in retaliation for killing Beth, but the fans say that is not enough. Not only have the petitioners gained impressive steam on the petition, but they have also been sending plastic spoons with their favorite “Beth Quotes” written on them, to the show’s production offices, to drive the point.

Joshua Warren, spokesperson for FOX Networks, says he agrees with fans that Beth’s storyline still has major potential, and that her death only occurred to further Daryl’s path on the show. Warren is in support of the petition to bring her back, saying that he’s already signed it himself, and is happy that producers are at least taking a second look at their decision to terminate the character.

The Beth Greene Deserved Better Facebook Page calls the petition a “movement”, and has also began spearheading other campaigns, such as assembling a coalition of fans to send Thank You cards to Emily Kinney. Social media is ablaze with support for Beth, as Twitter and Instagram accounts are also being created in throws to aid in the resurrection of Beth.

Sources report that TWD executive producer Robert Kirkman has been putting in overtime with AMC and FOX networks to figure out how he can re-write Beth into the series. Rumors state that Kirkman is scheming to have Beth’s death be all in the dreams of Carol Peletier (Melissa McBride). It’s the only strategy that will likely work, as Carol is in love with Daryl, and knows that Beth is a threat to that. It is beyond logical for Carol to have dreamed of Beth’s demise.

While it is difficult to receive comment from Kirkman himself, sources say he’s openly admitted he’s “working on it” when asked about bringing Beth back to life on the show. It seems that The Walking Dead fans are winning the Beth Greene battle.

Tuesday, December 09, 2014

This video is so cool. Love what Robbie Williams says about songs 3: "H. E. S. (Heavy Entertainment Show)" and 4: "The Edge".

Song 3: "H. E. S. (Heavy Entertainment Show)" and the "Wrecking Ball" album by Bruce Springsteen. RW ode to Bruce Springsteen.
Song 4: "The Edge". Just watch the video and you will see how funny RW is talking about "The Edge" of U2.

Emily Kinney gives the inside scoop on that 'Walking Dead' shocker

[SPOILER ALERT: Read on only if you have already watched Sunday’s midseason finale of The Walking Dead.]

The Walking Dead midseason finale ended with a bang on Sunday night. Unfortunately, that bang was the sound of Officer Dawn Lerner’s gun blasting into Beth’s head after Beth stabbed with her some scissors to protest the Grady Memorial Hospital leader insisting on forcing Noah to stay in exchange for Beth. In the past we may not have seen Beth be so bold, but this was Beth Greene 2.0, who showed herself to be a much more outspoken and daring version of her former self. Of course, that daring is what ultimately led to her demise. We spoke to a still very emotional Emily Kinney — who will now turn her attention to her music career with a new single and video titled “Rock Star” due Dec. 9 and a new album in 2015 — to get her thoughts on Beth’s evolution and end game. She also tells us about Norman Reedus getting a bit handsy, talks what she will miss most about working on the show, and reveals that she has yet to even watch her final episode. (Also make sure to check out our deep dive with Andrew Lincoln, midseason finale Q&A with Norman Reedus, and burning questions with showrunner Scott M. Gimple.)

ENTERTAINMENT WEEKLY: Tell me how and when you got the bad news.
EMILY KINNEY: The season finale was episode 508 and I found out during 507. So I found out a few hours before they released the script to everyone.

Showrunner Scott Gimple gave you the call?
I actually talked to him in person.

So did you go then tell your castmates or did they find out on their own?
All I know is how I found out, which is that day a few hours before the script came out. So different people from the cast reached out to me after that and that was really nice.

Tell me about that. What was it like when the reactions from cast started coming in?
They seemed surprised too. It’s always really hard. We’ve worked together for years now. So, it’s really sad.

I remember Scott Wilson told me he tried to talk them out of it at first for a minute when Gimple told him he was being killed off. Was there any of that on your end trying to plead your case?
No, I didn’t really think of that. I was more having a million things running through my head. I was like, oh, I have this apartment here. It was like a million things. I don’t know if I was worried about trying to…I don’t know. I was just really upset. I don’t know what I was thinking. I wasn’t trying to pitch anything to the writers at that point.

It’s interesting what you’re saying because that’s not something we think about a lot — all the simple logistics involved in uprooting or changing your life. I remember talking to you a few months ago and you talking about being on this show and always wondering about things like “Should I buy this table for my Atlanta apartment or will I not be around to enjoy it?”
Yeah, I think as actors we are a little conditioned to think like, okay, you do a job and the job ends — it’s like freelance. You go to the next job. But I have been working on this show now for years and it definitely has been an anchor in my life. I schedule other things around the shooting schedule and all these people have become really good friends and so of course I am sad to leave the character behind and then there’s another part of me that is excited that I can play some new characters, and that’s exciting. But there’s also the life stuff, like, Oh, I have to get rid of my apartment. I have to figure out what to do with my cable! What does this mean for me and my schedule? And oh, but there are all these people and I want to see them because it’s my last chance. And then also it’s my last chance to give a really kick-ass performance so I really want to work on my scenes. I really want to dig in. So there’s a lot going on in your head any time that you lose a job but are also trying to give a great performance.

Tell me about your last day of filming.
We didn’t shoot it in order so some of those scenes with everyone where Beth gets shot in the hall and then going outside — those was shot before some of the more intimate scenes or more 1-on-1 scenes with me and Dawn. That was later. But those scenes with the big group, those are long days because you’re getting coverage of so many different people. And of course, there is fight choreography with the gunshots and stuff. So they are long days. I was happy to have those days with my friends. I’m glad I didn’t die in episode 4 and have it be Beth isolated. So it was fun to have those days back shooting with the whole group and being able to hang out with everyone on set even though it was so sad. And then honestly, I was thankful to kind of end that journey working on really good scene work. I loved working with Christine Woods [who played Dawn]. Sometimes the big moments like that last scene where I get shot — as exciting as those moments are, I really love just coming to set and working on a scene and having a conversation with someone and making it feel real. I was thankful I was able to not end on days where I was just laying around bloody. I got to work, you know?

Beth was a character whose strength was always being questioned, so as hard as it is to be ripped away from the show, you have to feel pretty good, I imagine, about this final arc you got for her in which we really did get to see the fighter within her.
Yeah, totally. I really do love the writing on this show and I do think it’s really smart and cool and I love how Scott incorporates things and little sparks of things in other seasons and then you see them come back, like the “I don’t cry anymore” thing coming back in this episode. It’s really special, and I was really thankful that this season that you did get to see so much of Beth and you did get to see her without her group and what kind of person she could be and how she could change in different circumstances. It’s fun to work on and I was really thankful. Although I’m sad it ended so soon and wasn’t expecting it to end so soon, I was happy that you really got to know her before she left.

I spoke to Norman Reedus, and that scene where he’s carrying your body — he said he thinks he may had inadvertently grabbed your boob on one of those takes. Can you confirm or deny that?
Inadvertently?!

Yeah, exactly — in quotes. But what was it like playing dead in take after take there? Could you feel his arms giving out a little bit?
Yeah, I feel bad because at first before they were even rolling tape we would be all sad and he’d be holding on to me. And then after take after take after take it was getting more and more difficult to keep holding me. Because I’m just dead weight too! At least when he had to carry me last season it was piggyback and I was holding on to him and could jump up and help out at least — but this I was completely dead and limp, and then he’s trying to walk and cry and all of this and hold onto me. And there were a couple of times where I felt like I was definitely slipping towards the ground. [Laughs]

What was it like watching the episode?
I didn’t really watch it. I didn’t completely avoid it because there were moments like when I was waiting to go on Talking Dead where they were showing it and I wasn’t like “Oh, guard my eyes!” But I didn’t really watch it. Something happened this season — it started happening last season too, where I feel like I had a certain experience filming it, and while it’s nice to see the final product come out, it’s not so enjoyable. It’s not as though I’ve been like “Oh, I’m never watching it.” But I actually have not watched the episode. I haven’t sat down and watched it. I feel it’s sort of out of my hands at a certain point and I’m very proud of the work I’ve done with The Walking Dead. I don’t feel like it would be fun to watch myself. It feels a little painful.

What will you miss most about working on this show?
Probably the people. Because I feel like we’ve all become such good friends and they’ve made me a better actor. Not just the other actors, but all the people I’ve gotten to work with. They’re all really passionate people and really inspire me. I feel like Scott Gimple and Robert Kirkman and Gale Anne Hurd and all these people are really great artists and being around them doesn’t just infuse my work on The Walking Dead, but as a songwriter as well. Being around them makes me excited.

[SPOILER ALERT: Read on only if you have already watched Sunday’s midseason finale of The Walking Dead.]

It was an emotional midseason finale episode of The Walking Dead on Sunday night, especially for star Norman Reedus who woke up “sad” and “depressed” this morning after watching the episode last night and reliving the death of Emily Kinney’s Beth all over again. Reedus called into Entertainment Weekly Radio (SiriusXM, channel 105) this morning to talk all about Daryl Dixon and the big installment, copping an inadvertent feel on Kinney, what to expect coming up, and his reaction to Walking Dead creator Robert Kirkman’s clarification on last night’s Talking Dead as to Daryl’s sexual orientation. (Also make sure to check out our deep dive with Andrew Lincoln, midseason finale Q&A with Emily Kinney, and burning questions with showrunner Scott M. Gimple.)

ENTERTAINMENT WEEKLY: I know how super emotional it is for you guys when you have to say goodbye to a cast member. What was it like having to film these last scenes with Emily Kinney, who played Beth?
NORMAN REEDUS: It was rough. I won’t lie, it was rough. She’s such an amazing girl and such a great actress and what her character meant to our characters was a big deal, so to lose that was a very emotional day for everyone. It felt like you actually lost a friend.

And I know you do take things very hard and you had some trouble before filming this scene, didn’t you?
I think all the characters are sort of hanging on a thread, not in terms of being killed off the show but their emotional state. All of us are walking that fine line between completely savage and broken and I really wanted to play out that scene as devastated. And it means as much to Daryl as it meant to all of us. I really wanted to be completely devastated by that and taken off guard by that. Daryl’s one of those guys — he’s tough but he doesn’t puff out his chest and have to be tough. He’s just tough. And you can’t really have one without the other. You can’t just be one-note tough. You have to show reasons as to why he fights and you have to show the world that we’re living in. So he had to be devastated by that.

We’ve talked before how Daryl is such a tough guy, but he has some very tender and childlike qualities as well, especially when confronted with tragedy. We saw it when Merle was a zombie and we saw it again here when he watches Beth get shot. All that tough stuff just evaporates.
Yeah, he’s never been a showboat, and I think as an adult he’s taken a lot of the trauma that he had growing up and he’s taken it with him and you don’t fully became one or the other. I think in a tragic situation it’s fight or flight, and he’s always been a fighter, but at the end of the fight, I don’t think he ever feels proud of himself, you know what I mean?

He does not hesitate. He puts a bullet right through Dawn’s skull. Is that just a natural gut reaction?
I think so. That’s just animal instinct kicking in, and he’s kind of a wild animal in a lot of ways. He wouldn’t flinch at that. He would just do that.

So did Emily Kinney’s lifeless body get a little heavy after multiple takes of carrying her out of the hospital?
[Laughs] You know, she’s not a heavy girl. I wouldn’t say that. But it’s this defeated posture. I couldn’t walk her out like a fireman saving a baby. It couldn’t be like that. Everything had to hang. It wasn’t the most comfortable position to carry someone. You kind of have to be sobbing and hang as you carry her. It can’t be a heroic thing, it has to be a devastating thing. I think I grabbed her boob once by accident. After like, six takes and you’re walking really slow and sobbing, I thought maybe I would drop her at least once, but I didn’t.

What does the loss of Beth do to Daryl and to the group moving forward?
She was such a beacon of hope, that girl. She sang and she had a positive outlook and she was hopeful. All these little slivers of hope are being taken from this group one by one. It just gets worse and worse and worse. Humanity and the goodness in people is slowly being evaporated from their world. I think she was a big beacon of hope for us, and to watch her go is just devastating.

How is Daryl feeling about Rick’s decision making? We saw last week he actually sided with Tyreese’s plan instead of Rick just wanting to go into the hospital guns blazing. Is part of his job to keep Rick 2.0 in check a little from time to time?
One of the joys of watching the show is you see these little gifts that we give each other. And Rick’s done it to me quite a bit of times, and if you watch the episode with Carol, we see the little kids behind the glass and Daryl says “You don’t have to do it,” and then Daryl is going to go burn those bodies while she’s asleep. It’s just these little things where we have each other’s backs and that moment with Tyreese, Tyreese is really shaken-up and he’s had a hard time killing people, and Daryl is looking at Tyreese and thinking, you can’t fail. You have to be at 10. You can’t be at 3 and go in there. So while Rick is down there on the ground and drawing a map, he’s not really looking at Tyreese. Daryl is looking at Tyreese, and he realizes that he may screw this up, so Daryl sides with Tyreese and Rick doesn’t really know why because Rick didn’t see Tyreese flinching like that. So it’s little gift that Daryl gave Tyreese. But Rick listens to Daryl now. So that was between me and Tyreese, and Rick’s done that for Daryl numerous times, and Carol has done that for Daryl, and Glenn has done that for him. It’s these little gifts you give each other to show solidarity and friendship and that you have each other’s backs and that’s what that was. The same thing when I beat the guy over the head with the skull and Rick is ready to shoot him — Daryl wants to play the smart move. Four aces is better than three aces. He just wants to get the girls back, which is why it is so devastating for him in the end. He’s just playing good poker there.

We’ve had some seasons with tons of action and others with tons of character development, but this is I would argue the best one at really marrying both of those things. We got through both the Terminus threat and the hospital threat in only 8 episodes yet we also had a lot of character study in there. Would you agree that this season has excelled in that way?
Oh, man, you ain’t seen nothing yet. It just gets more so. It’s very well thought out this season, and a really strong combination of both of those things — character and action. And with both of those things comes a lot of sorrow and even mini-victories here and there. But it’s gonna become even more complicated in the back eight episodes.

I know you just wrapped production on season 5 last week. What’s that like in terms of bring excited about making it through another campaign but also saying goodbye to this on-set family for a good five months or whatever?
I feel like I’m still in it to be honest. I feel like I’m just visiting my apartment in New York and I’m about to go back. It takes you a while to decompress from it, and all of us are emailing each other on group emails already. All of us are doing that. It’s weird to be home for a minute. Even watching last night’s episode I woke up this morning feeling really down.

In what sense?
Just sad. I woke up sad. You put a lot of time and effort into all of this and you don’t just snap out of it sometimes. So I woke up pretty depressed.

What can you tell us about what we’re going to see coming up when the show returns?
It’s a very different show, the back eight. It’s still the same show, but it’s very different circumstances. Personalities really come to a boil and a lot of unexpected things are going to happen because it’s in a very different vein. You see us in a very different circumstance and it becomes very desperate. And there’s a false level of security that really messes with everyone.

I don’t know if you watched The Talking Dead last night, but Walking Dead creator Robert Kirkman went out of his way to explain that Daryl is straight because of all that hubbub where he mentioned in the letters section of the comics that there had been talk of having the character be gay at one point. Does it amuse and confuse you as to why people are so invested in Daryl Dixon’s sexual orientation?
[Laughs] It’s funny that you brought that up because he caught of a lot of grief for even mentioning anything. Sometimes stories just get blown out of proportion. Whatever they gave me to do, I would happily do it and I don’t think it matters one way or another his sexual orientation. He’s an honest, badass dude and he has a lot of heart to him and it doesn’t really matter. It’s so funny when you meet people and their reaction to this and to that — and believe me they go from all the way far left to all the way far right. I didn’t really address that when it came out because it doesn’t matter. And whatever they give me to do, I would have done. But it’s kind of funny watching him cover his tracks a bit. A lot of times stories do get blown way out of proportion.

Thursday, November 27, 2014

And we play our favorite songs
And we scream out all night long
Like ooh oh
When it's just me and my girls

All the lights, turn them off
It's too loud in here to talk
I don't understand a word you say

Gotta sleep but instead
Karaoke on the bed
Taking duck face selfies right and left

We get crazy with it, we get stupid with it
We don't care if people stare
And when we wobble with it

We get diva on it
We get queen bee on it yeah
We get Britney, Demi, One Direction, Bieber on it

And we play our favorite songs
And we scream out all night long
Like ooh oh
When it's just me and my girls
And we dance like no one's watching
We crack up, booty poppin'
Like ooh oh
When it's just me and my girls
Watch me now
Me and my girls, me, me and my girls
Me and my girls, pop pop pop it pop it
Me and my girls, me, me and my girls
Me and my girls, pop pop pop it pop it

My voice is gone, got my favorite PJ's on
Times like this don't always come along
You're all I need, there's nowhere I'd rather be
Then to have you crazy freaks with me

We get crazy with it, we get stupid with it
We don't care if people stare
And when we wobble with it

We get diva on it
We get queen bee on it yeah
We get Britney, Demi, One Direction, Bieber on it

And we play our favorite songs
And we scream out all night long
Like ooh oh
When it's just me and my girls
And we dance like no one's watching
We crack up, booty poppin'
Like ooh oh
When it's just me and my girls
Watch me now
Me and my girls, me, me and my girls
Me and my girls, pop pop pop it pop it
Me and my girls, me, me and my girls
Me and my girls, pop pop pop it pop it

Break it down
Now break it down
Now break it down
Now break it down

Break it down
Now break it down
Now break it down
Now break it down

And we play our favorite songs
And we scream out all night long
Like ooh oh
When it's just me and my girls
And we dance like no one's watching
We crack up, booty poppin'
Like ooh oh
When it's just me and my girls
Watch me now.

Wednesday, November 19, 2014

Just love this song, this video and this singer. Never heard of her before but this is AMAZING.

Meghan Trainor - All About That Bass

Hope you will love this awsome lyric.

Meghan Trainor - All About That Bass

Because you know
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass

Yeah, it's pretty clear, I ain't no size two
But I can shake it, shake it
Like I'm supposed to do
'Cause I got that boom boom that all the boys chase
And all the right junk in all the right places

I see the magazine workin' that Photoshop
We know that shit ain't real
C'mon now, make it stop
If you got beauty, beauty, just raise 'em up
'Cause every inch of you is perfect
From the bottom to the top

Yeah, my mama she told me don't worry about your size
She says, "Boys like a little more booty to hold at night."
You know I won't be no stick figure silicone Barbie doll
So if that's what you're into then go ahead and move along

Because you know I'm
All about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass
Hey!

I'm bringing booty back
Go ahead and tell them skinny bitches that
No, I'm just playing. I know you think you're fat
But I'm here to tell ya
Every inch of you is perfect from the bottom to the top

Yeah my mama she told me don't worry about your size
She says, "Boys like a little more booty to hold at night."
You know I won't be no stick figure silicone Barbie doll
So if that's what you're into then go ahead and move along

Because you know I'm
All about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass

Because you know I'm
All about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass

Because you know I'm
All about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass, no treble
I'm all about that bass
'Bout that bass
'Bout that bass, 'bout that bass
Hey, hey, ooh
You know you like this bass

Monday, November 17, 2014

Band Aid 30 is the 2014 incarnation of the charity supergroup Band Aid. The group was announced on 10 November 2014 by Bob Geldof and Midge Ure. As in previous incarnations, the group covered the track "Do They Know It's Christmas?", written in 1984 by Geldof and Ure, this time to raise money towards the Ebola crisis in Western Africa. The track has re-tweaked lyrics to reflect the current Ebola virus epidemic in West Africa with all proceeds going towards battling what Geldof described as a "particularly pernicious illness because it renders humans untouchable and that is sickening".

The song was recorded by some of the biggest-selling British pop acts, including One Direction, Sam Smith, Ed Sheeran, Emeli Sandé and Ellie Goulding. Bands Bastille and Mercury prize-winning Elbow have also confirmed they are on board, along with Chris Martin and Bono—the third time the U2 frontman has contributed to a Band Aid recording.

Music video by Band Aid 30 performing Do They Know It’s Christmas? (2014).
(C) 2014 Woodcharm Limited, under exclusive license to Virgin EMI Records, a division of Universal Music Operations Ltd

A new version of “Do They Know It’s Christmas”, recorded to raise money to help fight the Ebola crisis, was debuted on X Factor...
... [TXF (UK) s11x26 Live Results Show 6 (Only Stay 7) (Special Guests Nicole Scherzinger & Olly Murs)] last night.

Band Aid 30 - Do They Know It’s Christmas? (2014)

Participants

The line up for Band Aid 30 confirmed so far: Organisers and producers:

It's Christmas time there's no need to be afraid - One Direction
At Christmas time we let in light and we banish shade - Ed Sheeran
And in our world of plenty we can spread our smile of joy - Rita Ora
Feel your arms around the world at Christmas time - Sam Smith

But say a prayer and pray for the other ones - Paloma Faith
At Christmas time its hard but while you're having fun - Emeli Sandé
There's a world outside your window and it's a world of dread and fear - Elbow
Where a kiss of love can kill you - Dan from Bastille

Where there's death in every tear - Angelique Kidjo
And the Christmas bells that ring there are the clanging chimes of doom - Chris Martin
Well tonight we're reaching out and touching you - Bono
Bring peace and joy this Christmas to West Africa - Seal

A song of hope where there's no hope tonight (ooh) - Ellie Goulding
Why is comfort to be feared, why is to touch to be scared - Sinead O'Connor
How can they know it's Christmas time at all - Bono
Here's to you - One Direction

Raise a glass to everyone - Olly Murs
Here's to them - Bastille
And all there is to come - Sam Smith
Can they know it's Christmas time at all - Rita Ora

Chorus - All Singers
Feed the world let them know it's Christmas time again
Feel the world let them know it's Christmas time again
Heal the world let them know it's Christmas time again
Feed the world let them know it's Christmas time again
Feel the world let them know it's Christmas time again
Heal the world let them know it's Christmas time again
Feed the world let them know it's Christmas time again
Feel the world let them know it's Christmas time again

Thursday, November 06, 2014

This is the new video from Within temptation from the amazing album "Hydra". Released in 2014.

Within Temptation - Covered By Roses (Live)

Hope you will love this awsome lyric.

Within Temptation - Covered By Roses

I feel my heart explode to particles.
Love is always here and I told you so.
Restless in dreams, love carved in stone
This rhapsody of life in a way, I guess, we all know it.

Hand in hand we stand while we watch it flow
Heaven can you help us, no we can't go.

Covered by roses
When this dance is over
We all know our beauty will die.
The choirs have awoken
Left no words unspoken
Remember you as long as I can
Hold you in my arms all night
And spill the wine until the end
We all have our place in time,
Need to live every moment

We built our castles high, turned our dreams to gold.
We took the blows with pride, went through it all.
The dawn is closing in, new tales are told.
This rhapsody of life in a way, I guess, we all know.

Covered by roses
When this dance is over
We all know our beauty will die.
The choirs have awoken
Left no words unspoken
Remember you as long as I can
Hold you in my arms all night
And spill the wine until the end
We all have our place in time,
Need to live every moment

For all we are is falling stars in the night
A blinding light raging down from the sky
The rise and fall, the rhapsody of our lives
It's all we know, we've got to let go

[Spoken:]
She dwells with beauty, beauty that must die.
And joy, whose hand is ever at his lips.
His soul shall taste the sadness of her might
And be among her cloudy trophies hung.

Covered by roses
When this dance is over
We all know our beauty will die.
The choirs have awoken
Left no words unspoken
Remember you as long as I can
Hold you in my arms all night
And spill the wine until the end
We all have our place in time,
Need to live every moment

Tuesday, November 04, 2014

This is the video #6 of HAIM from the amazing album "Days Are Gone". Released in 2014.

HAIM - My Song 5 ft. A$AP Ferg

Hope you will love this awsome lyric.

HAIM (Ft. A$AP Ferg) - My Song 5

[Intro: ASAP FERG]
Talk to me nice or don't talk to me

[Verse 1: Haim]
I found it hard, tried to reserve
I'll get it right when I am heard
(Hot for me)
The man's his own
(Hot for me)
To her he'll go
(Hot for me)
But I'll be fine
(Hot for me)
'Cause I know

[Pre-Hook: Haim]
He's in her heart, on the floor
thinkin' that I'll never know
I'll be up going through crazy shit I did for you
In my mind, in my head
seein' all the words unsaid
Honey, honey I am never coming home again

[Hook: Haim]
I've been lied to
So what's the truth?
No I'm not gonna hide it all, keep it in all from you
I've been dying to know what you tried
You've been lying so
Honey, I'm not your honey pie

[Pre-Hook: Haim]
He's in her heart, on the floor
thinkin' that I'll never know
I'll be up going through crazy shit I did for you
In my mind, in my head
seein' all the words unsaid
Honey, honey I am never coming home again

[Verse 2: Haim]
If you want to see me baby please
Been holding on for eternity
Say you only want me
Missing you never led to much of anything

If you wanna know, if you wanna show me
How it means, what it seems, seems to be
Held by a thread, tried to forget
But I'll never let it go
Honey I'm not your honey pie

[Verse 2: ASAP FERG]
Can you handle the truth? I don't think you can
Jealous now 'cause I'm working with this female band
She wanna
Consume the world and get all females banned
Always talk about marriage, I don't see those plans
And yes, I cheated once and so did you
You let your girl eat you out like a bowl of soup
And how you thinking in clue it's the master bruce
Two girls in the nude I couldn't wait to intrude
I couldn't wait to penetrate the both of you two
You probably would have been scared I wasn't noticing you
Scared I'd be occupied with your friend, my nose in the [clean]
But, we ain't play that game cause we know you probably would lose
Honey pie, don't front like you goodie-two-shoes
You ain't got no money, how'd you get those new shoes?
I put the clothes on your back, this the thanks I get?
Is this April? This must be a prank of some shit

[Pre-Hook: Haim]
He's in her heart, on the floor
thinkin' that I'll never know
I'll be up going through crazy shit I did for you
In my mind, in my head
seein' all the words unsaid
Honey, honey I am never coming home again

[Hook: Haim]
I've been lied to
So what's the truth?
No I'm not gonna hide it all, keep it in all from you
I've been dying to know what you tried
You've been lying so
Honey, I'm not your honey pie

The Walking Dead recap: 'Slabtown'

Could there be a less enticing, ominously evocative episode title than "Slabtown"? Ending up on a slab means dying, and anything called Slabtown should almost certainly be avoided. (That said, Portland's Slabtown Bar earns solid marks on Yelp.) The title of the fourth episode of The Walking Dead's fifth season is never explicitly linked to what happens in the episode—there’s no "Forget it, Beth: It’s Slabtown"—but we’ll presumably learn it soon.

Anyone hoping to learn who was with Daryl in the woods was probably disappointed not to have last week’s cliffhanger answered, but we can remove a few candidates from Dalton Ross’ list: Beth, the people who took Beth, and Carol. More on her in a bit.

Beth has traditionally been one of The Walking Dead’s less compelling supporting characters, so it’s nice watching her take on more narrative responsibility lately, beginning back with last season’s "Tempus Fugit." Back on her dad’s farm, Beth seemed content to let Maggie and Hershel be the grown-ups. Even in the prison she stuck to more domestic duties. That made her ill-prepared for a life on her own—as one of her new guardians notes—but times have changed. Beth may still look young and weak, but people underestimate her at their own peril. And they underestimate her repeatedly in "Slabtown."

When Beth disappeared last season in a speeding car with a white cross on the back, my money was on a group of religious fanatics taking her. Surely this world has its share of zealots who have used the zombie plague as justification for bizarre behavior. Where is the Guilty Remnant of The Walking Dead?

Well, it isn’t at the Atlanta hospital where Beth wakes up at the beginning of "Slabtown." But we quickly learn that a different, tidy fanaticism rules Grady Memorial Hospital, as personified by police officer Dawn Lerner (Christine Woods, best known for Go On and Hello Ladies): Order at all costs, down to clothing on their backs.

Lerner quickly makes that clear after explaining to Beth how she ended up there: They rescued her from "rotters" on the side of the road, "so you owe us." That debt informs the rest of "Slabtown," though the terms of it are never made clear. Beth owes them something for saving her, for her food, and presumably her shelter. She works off that debt as a nurse/assistant to Dr. Steven Edwards (Eric Jensen), the good cop to Lerner’s bad cop (and Cullen Moss' worse cop, who would like to repaid sexually).

Rarely is the passage of time clear on The Walking Dead, so it looks like Beth goes from groggily waking up to seeing the plug pulled on another patient in a matter of minutes. As Edwards explains, if patients don’t improve, the hospital euthanizes them—which is an exceedingly polite way of saying he takes them off life support and dumps their bodies down an elevator shaft to be eaten by walkers.

It may seem cruel, but limited resources mean Lerner and Edwards—the hospital’s only doctor—have to be ruthlessly realistic. Except when they don’t: Not long after Beth learns the rules, Lerner and another cop wheel in a new patient, who’d fallen from a building. The guy’s in bad shape; Edwards assesses him as hopeless on first sight: "This one’s a loser. You said you didn’t want me wasting resources." Lerner insists Edwards treat him, so the doctor relieves pressure caused by his collapsed lung, but beyond that he can’t do anything. Bruising on the man’s abdomen indicates internal bleeding, and they don’t have the equipment to diagnose the cause. Edwards again remarks that it’s a waste of resources, so Lerner takes the logical next step of slapping Beth. "Steve, try to grasp the stakes here," she says while Beth looks baffled.

The red flags continue. When officers drag in another "ward" who has been bitten during an apparent escape attempt, Lerner insists on amputating the woman’s arm to save her life, even though she wants to die. "You can’t control them!" the woman, Joan, yells. "I will!" Lerner responds. And because we’ve gone literally minutes without gore, we’re treated to the woman’s arm being amputated with a wire saw. Lerner, it’s clear, only understands force. By the sheer force of clinging to the previous rules of order, she’s going to save the world. Or so she thinks.

Dalton mentioned Tyler James Williams in his post last Monday, and now we have seen Noah (so no, that’s probably not him in the bushes, either). Noah has been working off his debt for a year since he was saved, and he seems to have no idea how much is left on his tab. In fact, he’s never seen someone pay off their debt and walk out the door. Whether that’s because they never finish paying or because they decide to stay at the hospital instead of facing the outside world alone remains to be seen. He has no illusions about his hosts: Lerner can barely keep control of her officers, and her grip is slipping; they left Noah’s injured father when they rescued him, ostensibly because they didn’t have the resources to care for Noah’s dad, but Noah suspects it was really because his dad was bigger, stronger, and unlikely to be pushed around.

"They think I’m weak," Noah tells Beth. "They don’t know shit about me, about what I am. About what you are."

Where men at this hospital see Beth and see a willowy blonde they’d like to bang—you’re no exception, Dr. Edwards—Noah is the only person, man or woman, to see a person who can unload a string of headshots on a group of walkers with icy precision. Well, maybe he doesn’t see that, but he at least grasps her toughness—and she has a chance to show off her gun skills later.

Lerner, rightly sensing she didn’t make the best impression on Beth, tries a softer approach with her later. She brings food and tries to make her case. "You shouldn’t see this as a sentence. I’m giving you food, clothes, protection. When have those things ever been free?" she asks. Then she makes plain the denial feeding her manic devotion to order: When they’re rescued, their sacrifice will have been worth it.

That includes mistreatment of wards by officers of the law sworn to protect them. Lerner clings mightily to the order of the world before the fall, but she’s the only one. Her staff, epitomized by the rapey Gorman (Moss), maintains the minimal amount of peace to keep her satisfied, though it’s unclear why they couldn’t simply pull a coup. "She can control them," Joan tells Beth later, "but she doesn’t because it’s easier. Because she’s a coward."

[Iggy Azalea:]
This twisted cat and mouse game always starts the same
First we're both down to play then somehow you go astray
We went from nothing to something, liking to loving
It was us against the world and now we just fucking
It's like I loved you so much and now I just hate you
Feeling stupid for all the time that I gave you
I wanted all or nothing for us ain't no place in between
Might, might be me believing what you say that you never mean
Like it'll last forever but now forever ain't as long
If it wasn't for you I wouldn't be stuck singing this song
You were different from my last but now you got it mirrored
And as it all plays out I see it couldn't be clearer
Now sing

[Pre-Hook — Rita Ora:]
You used to be thirsty for me
But now you wanna be set free
This is the web, web that you weave
So baby now rest in peace (It's all over with now)

[Iggy Azalea:]
I'm gonna l-l-l-love you until it hurts
Just to get you I'm doing whatever works
You've never met nobody
That'll do you how I do ya
That will bring you to your knees
Praise Jesus hallelujah
I'm-a make you beg for it, plead for it
Till you feel like you breathe for it
Till you do any and everything for it
I want you to fiend for it
Wake up and dream for it
Till it's got you gasping for air
And you lean for it
'Till they have a CAT scan and check on your mind
And it's nothing but me, on it (on it, on it, on it)
Now it's me-time believe that
If it's yours when you want it
I wouldn't promise I need that
Till I'm everywhere that you be at
I can't fall back go quick
Cause this here a fatal attraction so I take it all or I don't want shit

[Pre-Hook — Rita Ora:]
You used to be thirsty for me (Right)
But now you wanna be set free
This is the web, web that you weave
So baby now rest in peace (It's all over with now)

When I was in the third grade I thought that I was gay,
'Cause I could draw, my uncle was, and I kept my room straight.
I told my mom, tears rushing down my face
She's like "Ben you've loved girls since before pre-k, trippin'."
Yeah, I guess she had a point, didn't she?
Bunch of stereotypes all in my head.
I remember doing the math like, "Yeah, I'm good at little league."
A preconceived idea of what it all meant
For those that liked the same sex
Had the characteristics
The right wing conservatives think it's a decision
And you can be cured with some treatment and religion
Man-made rewiring of a predisposition
Playing God, aw nah here we go
America the brave still fears what we don't know
And "God loves all his children" is somehow forgotten
But we paraphrase a book written thirty-five-hundred years ago
I don't know

And I can't change
Even if I tried
Even if I wanted to
And I can't change
Even if I tried
Even if I wanted to
My love
My love
My love
She keeps me warm
She keeps me warm
She keeps me warm
She keeps me warm

If I was gay, I would think hip-hop hates me
Have you read the YouTube comments lately?
"Man, that's gay" gets dropped on the daily
We become so numb to what we're saying
A culture founded from oppression
Yet we don't have acceptance for 'em
Call each other faggots behind the keys of a message board
A word rooted in hate, yet our genre still ignores it
Gay is synonymous with the lesser
It's the same hate that's caused wars from religion
Gender to skin color, the complexion of your pigment
The same fight that led people to walk outs and sit ins
It's human rights for everybody, there is no difference!
Live on and be yourself
When I was at church they taught me something else
If you preach hate at the service those words aren't anointed
That holy water that you soak in has been poisoned
When everyone else is more comfortable remaining voiceless
Rather than fighting for humans that have had their rights stolen
I might not be the same, but that's not important
No freedom 'til we're equal, damn right I support it

(I don't know)

And I can't change
Even if I tried
Even if I wanted to
My love
My love
My love
She keeps me warm
She keeps me warm
She keeps me warm
She keeps me warm

We press play, don't press pause
Progress, march on
With the veil over our eyes
We turn our back on the cause
'Til the day that my uncles can be united by law
When kids are walking 'round the hallway plagued by pain in their heart
A world so hateful some would rather die than be who they are
And a certificate on paper isn't gonna solve it all
But it's a damn good place to start
No law is gonna change us
We have to change us
Whatever God you believe in
We come from the same one
Strip away the fear
Underneath it's all the same love
About time that we raised up... sex

And I can't change
Even if I tried
Even if I wanted to
And I can't change
Even if I tried
Even if I wanted to
My love
My love
My love
She keeps me warm
She keeps me warm
She keeps me warm
She keeps me warm

Love is patient
Love is kind
Love is patient
Love is kind
(not crying on Sundays)
Love is patient
(not crying on Sundays)
Love is kind
(I'm not crying on Sundays)
Love is patient
(not crying on Sundays)
Love is kind
(I'm not crying on Sundays)
Love is patient
(not crying on Sundays)
Love is kind
(I'm not crying on Sundays)
Love is patient
Love is kind

Saturday, October 11, 2014

This is an amazing TRUE story. You have to see the video to understand how epic the story really is.
First watch the video and then read their story below the video and then if you want just buy the book.
Prepare for tears.

Throughout history, there have been men and women who were willing to sacrifice their lives rather than compromise their faith. The Freedom Singers' story is one that will inspire you with a fresh, modern day picture of faith in a God that is still in control of a world gone mad.

Simon Ivascu, Steven Ivascu and Wesley Pop, fled Romania when they were only teenagers. In Romania, their native land, at that time, all young men, upon completing High School, were forced to join the army. Being conscientious Christians, they could not join the army because freedom of worship was totally restricted. Refusing to join would result in several years of imprisonment and persecution.

Determined to escape to freedom, they all faced danger and hardships fleeing from Romania to Italy, but Simon and Wesley's nightmare began in earnest when they crawled into a container, were then locked and sealed, and placed aboard a container vessel. There they spent two weeks in total darkness as they baked in the heat for days before being loaded onto the ship, headed to unknown destination. They ran out of food, water, oxygen and hope. As despair filled that container. It appeared that the container became their likely tomb; Once again, God provided another of many miracles in this incredible real life story of faith and perseverance in the face of insurmountable odds. This trio has been singing since their days in Italy shortly after fleeing Romania. Simon recalls, "We were singing mostly hymns together, back when we were in Italy, but we started to sing Southern Gospel Music in 2000, after we heard the Gaither's and the Cathedrals on television. It was a sound that we instantly fell in love with. After singing at local churches and telling our story, it was suggested to actually give our group a name the "Freedom Singers." This would be the most appropriate name considering the backgrounds of the guys. So in 2001, the "Freedom Singers" was officially born.

Simon goes on to say that, "We've been blessed beyond our imagination in so many ways. From the opportunity of sharing our music and testimony in churches big and small, to performing at the largest annual Canadian Gospel Convention in Red Deer and doing radio and TV interviews to being a guest artist on a Christian Music cruise." 2013 brings even more exciting opportunities to the Freedom Singers as they are scheduled to travel across the United States and Canada.

FREEDOM SINGERS share their music and testimony in the hope that those who listen will be spiritually enriched and blessed. They give praise to God for His guidance and abundant Grace.

Steven Ivascu

Baritone

Simon Ivascu

Tenor

Craig Smith

Lead

You can buy their Book "THE PRICE OF FREEDOM" and their CDs on their site: